Alison Tucker
Where You Used To Be
Self Release
Multi Textured Sensitive and Personal Folk Country.
Austin, Texas-based singer-songwriter, Alison Tucker’s debut album Where You Used To Be is a multi-textured affair, showing the songwriter’s ability to deliver a set of personal songs (she is big on them) that are the kind that grab your attention. Tucker’s accounts of high and lows see her give an excellent account of herself.
“In the middle of a life turned upside down – after years devoted to career and family – I found myself rebuilding from the ground up. I was navigating divorce, caregiving for my mother and sharing custody of my two children”,
offers Tucker.
Not without fans among her peers, singer-songwriter, Diana Jones being one states, “Alison Tucker was born an entertainer. Hysterically funny one minute and hopefully sad the next, her show will leave you smiling”.
Despite the fact she’s no stranger to writing songs and performing, the biggest mystery has to be how it has taken this long for her to make a record; and possibly the same could be said in regards her recent coming out as a queer woman.
Where We Used To Be was produced by Mandy Rowden (backup vocals, electric, bass guitar, dobro, bass) and Matt Smith (lap steel, bass, high string, electric guitar, mandolin, dobro, keyboards) with Katie Marie, Brain Mendes (drums) are the main support to Tucker’s acoustic guitar, 6-string banjo (Carousel Of Colors) and vocals.
New Lover opens the eight track album with a daring feel to it, as it’s like she has just escaped the shackles of her chains and is keen to express herself, unburdening her soul amidst uncertainty.
When You Close Your Eyes opens to the sound of striking, smouldering lead electric guitar and the brooding bluesy rhythm digs beneath the surface in a soulful manner, like it were from another era, there is a rich pureness present throughout, while her lead vocals soar.
Filling Up The Spaces is more sprightly as it bounces along to an engaging melody with a superb vocal performance amid some fine folk-country storytelling.
It’s something you could imagine was born around a campfire session at the Kerrville Folk Festival. as it’s so relaxed and embraces its delightful harmony vocals as it speaks of someone filling up the spaces left by another when they leave.
‘A little more time , just a little more time’ she sings on More Time. With a loose rhythm, the song winds its way forward.
‘I saw my mother the other day,
she noticed my hair was turning grey,
I caught myself wishing for more time’.
Her heart longs for someone.
‘I am changing just like the seasons’, she recognises.
All fuelled by fine electric guitar, drums and strong harmony vocals the compelling message is driven home.
Three Quarter Time is supported by some compelling lead guitar, piano and fiddle, all found in a wistful mood, as Alison sings,
‘It I don’t go to sleep tonight,
it won’t be nothing new,
I am haunted by a a delinquent goodbye,
and a million nights without you,
I’ve had two shots of whisky to ease my mind,
fact is I have been drinking all day,
but when I close my eyes,
I hear your lies,
today I’m just walking away’.
Her relationship may have failed, but it has given her a song; maybe more than one?
Let Me Go has her pleading to be set free, released from her chains and it’s steeped in a generous helping of S.O.U.L, as Tucker delivers a real killer cut loaded in a wonderful groove, electric guitar and female harmonies as she leads the listener to a peaceful place.
Long Sleeves enjoys a melodic, folk fashioned base, being mellow and a little dreamy while sombre at times too as the acoustic guitar, mandolin and harmony vocals sprinkled across the song evoking stark and less than pleasant imagery. She says, ‘everything is fine, she’s sorry, she laughs for a little while but all isn’t well’ is the overlying message.
Mixing it up (again) Carousel Of Colors is a reflective gem, awash in happy times as Tucker gets to close the album with joy in her heart.
The only question left is asking why it’s taken Alison Tucker so long to release her debut album; but then again … it’s been worth the wait.
Review by Maurice Hope
Released 6th June 2025
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